August 13th, 2008


The Life of Leonard Rosenman: Part Seven of Seven

In the final part of Film Score Monthly's feature compiling the thoughts of film composer Leonard Rosenman, he talks of his final movies. Here it is. It includes talking about working with Irvin Kershner on RoboCop 2:
Now that was a case of throwing pearls to swine, because that picture had a superb script which was really screwed up during shooting. There were some brilliant scenes, but no story.

There's that scene where the kid points the gun at the screen and says, "Take that, mother___." I told Kersh the audience was gonna kill him for that; he pushed it too far beyond the boundaries of good taste. It was corrupt. If you make a film about corruption, you don't make a corrupt film. If you make a film about a boring person, you don't make a boring film. That's the difference between art and reality. People don't want to see reality unless it's a documentary. That's the problem.
Rosenman also gets more expansive about film and music in general:
Reality is, in films, an interpretation of naturalism. The image of the film, vastly larger than life, is by itself not real. It is often the musical statement in the film that gives it its reality. This is somewhat paradoxical because music is, within the filmic frame of reference, its most unnaturalistic element...
iAm iSaid

If I may indulge myself a moment...

...but hey, isn't all blogging self-indulgent? But I A) digress, and B) accept that and go on...

I found out yesterday that one particular manager, the one who was one of the biggest reasons I decided to get the hell out of my former OHSU job, no longer works at OHSU.

I'm going to join some former co-workers at the Rock Bottom Brewery later this week to mark this occasion.

I'll reconnect with the people I liked at that office. And I'll no longer have to deal with this person I really didn't like.
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Whale fluke

What Mike Rich's been up to:

I was wondering what Beaverton's Mike Rich has been up to. He wrote Finding Forrester (while he was still the news reporter for KINK FM 101.9) and The Rookie, and he actually wrote Miracle but lost credit on it. I hadn't heard what Rich has been up to since he wrote and produced 2006's The Nativity Story, and I missed a chance to ask his friend Shawn Levy what Rich was doing when I met Levy at the D.K. Holm benefit last April.

Here's an update (thanks, Mr. Levy). Rich's latest sports script, Secretariat, now has Randall Wallace signed as director. (Wallace directed We Were Soldiers and The Man in the Iron Mask, and he wrote Braveheart and, um, Pearl Harbor.) Rich also wrote a romantic comedy script; Levy's still waiting to hear that script's status.

And maybe Rich has been doing uncredited rewrites. He's done that a lot, the way Frank Darabont used to do.